当画复杂的科目在水彩画,通常很难避免失去一些亮点和细节。虽然掩蔽流体可以用来覆盖区域保持白色,很难记得盖地区的色彩将成为突出在暗。我也找到掩蔽流体倾向于创建硬边和可以经常损坏表面的纸当它离开了一段时间。在本文中,我将向您展示我如何解决一个非常复杂的话题,使用水彩水粉画。
绘画从写生簿-低-新的百老汇
纽约1982
旅行时,我总是随身携带一个素描本,使研究的场景,我感兴趣的,我觉得可以作为一个绘画当我回到工作室。我把照片作为参考的细节,特别是当主题是复杂的这一个。当我从纽约返回城市1982年,我已经打算开始工作,但是我把这幅画的素描簿到一边,开始忙于与其他绘画和绘画从来没有完成。2001年9月11日发生的事件后,我记得我做了一下的纽约和世界贸易中心在幸福时光。我决定完成流程,已经开始在1982年9月的那个早晨。看着素描,我发现这幅画需要更多的信息在右边,所以我知道我可以把双子塔的中心画更好的成分。我还添加了一个额外的建筑。幸运的是我有一个参考图片的文件。
使用草图和参考照片,我把图像轻轻地在300磅。温莎&牛顿水彩画纸使用2 h铅笔。当我还是满意的图纸,我走过去铅笔用稀释的墨汁。一旦墨水干了我把铅笔和一个橡皮擦揉。当画一个详细的图像在水彩,我用这种方法代替石墨铅笔单独作为墨水不会涂抹或混合入洗为例。
我申请一个苍白的暖黄色的纸洗的颜色清晨的光线。阳光很少是纯白色的,因为它是最主要的来源,它的颜色会影响照明的所有其他颜色在绘画。我使用两个锅和管在我画的水彩画,锅被预留给少量的色彩和管颜色的使用当我需要一个更大的金额洗。一旦一个大型平面面积如天空是完整的,我盖纸来保护它从溅出物或手指标志。
平洗应用建立地方色彩,然后添加细节。在这张图片你可以看到初步,中间和完成的绘画。在绘图板上是屠夫的托盘和各种菜我使用混洗。一些最好的混合菜为水彩画是不被发现在艺术商店但在厨具店。不锈钢是理想的混合的颜色,因为它不会对颜料,不会生锈,很容易清洁和牢不可破的。
我已经完成了绘画与透明的水彩,我添加细节,灯光和清理毛边用水粉颜料。这个数量的水粉画,我使用取决于个人绘画和范围可以从几个细节到一个完整的重新绘制的区域。我也昏暗的一些地区更增加对比度,签署了这幅画,它是完成了。
所有的内容和图片在这幅画展示的是Doug Purdon版权,不得复制、转载、发表、再造工程,翻译,主持,或者以其他方式分发通过任何方式在没有明确的许可,道格Purdon。
原文如下：
When painting complex subjects in watercolour, it is often hard to avoid losing some of the highlights and the details. While masking fluid can be used to cover areas that are to remain white, it is hard to remember to cover areas of colour that will become highlights within the darks. I also find masking fluid tends to create hard edges and can often damage the surface of the paper when it is left on for extended periods of time. In this article I will show you how I tackled a very complex subject using watercolour and gouache.
Painting from sketchbook – Lower Broadway – New
York 1982
When travelling, I always carry a sketch book and make studies of scenes that interest me and that I feel could be done as a painting when I return to the studio. I take photos as reference for details, especially when the subject is as complex as this one. When I returned from New York City in 1982, I had every intention of starting work on this painting, but I put the sketch book to one side and got busy with other paintings and the painting was never completed. In 2001 after the events of September 11, I remembered the little sketch I had done of New York and the World Trade Center in happier times. I decided to complete the process that had started on that September morning in 1982. Looking at the sketch, I found the picture needed more information on the right hand side so I knew I could move the twin towers from the centre of the painting for better composition. I also added an additional building. Luckily I had a reference photo of it on file.
Using the sketch and reference photos, I drew the image lightly on 300 lb. Winsor & Newton watercolour paper using a 2H pencil. When I was satisfied with the drawing, I went over the pencil with diluted India ink. Once the ink was dry I removed the pencil with a kneaded eraser. When painting a detailed image in watercolour, I use this method instead of graphite pencil alone as the ink will not smudge or mix into the washes as they are applied.
I applied a pale warm yellow wash to the paper the colour of the early morning light. Sunlight is seldom pure white, and as it is the prime source of illumination, its colour will effect all other colours in the painting. I use both pan and tube watercolours in my paintings, the pans being reserved for small amounts of colour and the tube colours used when I require a larger amount for washes. Once a large flat area such as the sky is complete, I cover it with paper to protect it from spatters or finger marks.
Flat washes were applied establishing local colour and then details were added. In this picture you can see the preliminary, intermediate and completed painting. On the drawing board is the butcher’s tray and various dishes I use to mix washes. Some of the best mixing dishes for watercolour are not to be found in the art store but in a kitchen utensils shop. Stainless steel is ideal for mixing colours as it won’t react with pigments, will not rust and is easy to clean and unbreakable.
I have now finished painting with transparent watercolour and am adding details, lights and cleaning up rough edges with gouache. The amount of gouache that I use depends on the individual painting and can range from a few details to a complete repainting of areas. I also darkened some areas more to increase the contrast, signed the painting and it was finished.
All content and images in this painting demonstration are copyright of Doug Purdon and may not be copied, reprinted, published, reengineered, translated, hosted, or otherwise distributed by any means without explicit permission of Doug Purdon.
